Ne Boj Se / Do Not Be Afraid : Jusuf Hadžifejzović @ Zvono

 

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Poslije prošlosedmičnog performansa Jusufa Hadžifejzovića u Zvonu, zanimalo me kako su mediji predstavili umjetnikov rad javnosti. Poslije skromnog članka kojeg je epidemično prisvojio veliki broj bosanskohercegovačkih portala, nekako sam zalutala u sektor za mahalanje umjetnika koji eto uspijeva komunicirati sa ljudima diljem svijeta, a nikako da nađe zajednički jezik sa svojim sugrađanima. Dok se Hadžifejzović pokušava izboriti da se još jedan prostor u gradu ne pretvori u generator turbofolk energije, masa neistomišljenika ga bez imalo skepticizma i sažaljenja šalje u Jagomir. Ne bih izigravala braniteljku performativne umjetnosti ili pomenutog umjetnika jer i sama se ponekad dvoumim oko poruka koje nam se ponude, ipak ću cijenjene sudije napomenuti da prije nego donesu konačnu odluku promisle da možda u samom činu dvoumljenja ima neke draži.

Performans „Ne boj se“ je homage Luciji Pianto, Rene Blocku i Josephu Beuysu. Lucia Pianto je jedna od nositeljica ideje o osnivanju Charlame, a Hadžifejzovićev performans je paralela Beuysovom performansu u galeriji Rene Bloch. Naime, Beuys nije želio vidjeti Ameriku, pa se zaogrnuo filcom i trodnevni boravak u galeriji podijelio s kojotom, prvobitnim čuvarom Amerike kojeg je ukrotio pucanj Evropljanja. Analogno tome, Hadžifejzović upotrebljava bosanskohercegovački ćilim i malenog psa u lancima da možda ne vidi jad i bijedu ispod vela tradicije koju bi neki pametniji narod vjerovatno bolje iskoristio. Ili možda da nam nagovijesti da je riječ o onom lokalnom nerazumijevanju s početka mog eseja? Također, Hadžifejzović upotrebljava fes u novom ruhu, pa ga potom zamjenjuje fantomkom i time započinju njegove nimalo bezazlene igre o, kako to i sam umjetnik kaže, „maćehinskom odnosu prema umjetnosti u Bosni i Hercegovini“. Nakon toga Hadžifejzović ili alegorija kulture u našoj državi pognute glave i zaogrnut ćilimom poput starog prosjaka sakuplja novčiće. Kad je Hadžifejzović zalazio među publiku jedan posmatrač je kroz smijeh uzviknuo:“Papa!“ Možda i jeste bio proseći papa. Ne znam. U svakom posmatraču se rodilo neko novo značenje srodno njegovom iskustvu koje nikad nije transparentno kao prozor ili vjerno kao ogledalo. Naprotiv! Performans nužno funkcionira na principu palimsesta, pergamenta s kojeg je ostrugan novi natpis kako bi se ocrtao drugi, ali tako da se još uvijek, u naznakama, može pročitati staro ispod novog. U tom smislu, jedan postupak uvijek sadrži tragove drugih, uvijek ih priziva u značenjski, nikada dovršeni proces. Performativi u Hadžifejzovićevim radovima uvezivanjem stvaraju značenja. Oni upućuju jedne na druge, a znakovi uvijek upućuju na druge znakove. Princip znakovne sličnosti nije stabilan jer uvijek u sebe uvlači nove sličnosti i nove oznake, pa zbog toga možemo zaključiti da je značenje u umjetnikovim radovima osuđeno na nedovršenost, na mozaičnu rekreaciju u svakom posmatraču ponaosob. Ovaj rad zapravo počiva na razbijanju vizualne barijere pri čemu se odlazi dalje od objekta u domenu jezika, znanja, znanosti i informacije i podataka kao sadržaja umjetnosti. Ovaj tip umjetnosti često predstavlja enigmu gledaocu. Koristeći se najjednostavnijim zamislima, Hadžifejzović pokreće lanac daleko opsežnijeg propitivanja. Pa tako nam umjetnik ne dozvoljava da se oslonimo na čisti vizualni doživljaj, što donekle dovodi do intelektualne provokacije. Intelektualna provokacija je naprosto rezultat iznevjerenog horizonta očekivanja: posmatrač ulazi u galeriju, očekuje slike i objekte, a za uzvrat mu se nudi nešto posve drugačije. Posmatrač se šokira ispunjenim ili neispunjenim očekivanjima, prihvata, odbacuje, organizira i reorganizira podatke, odlučuje, zaboravlja. To je stalni proces re-kreiranja. Umjetnikov proces re-kreiranja značenja ponovo pobjeđuje konvencijom utvrđeno poimanje umjetničkog djela kao prozora u zaleđeni svijet. Ko je zapravo umjetnik? Da li je njegova prisutnost nužna u procesu izrade djela? Da li umjetnik mora biti slikar ili skulptor? Da li umjetnik postaje copy-aparat? Da li umjetnik postaje režiser? Da li umjetnik postaje komentator? Da li umjetnost postaje komentar? Ukoliko jeste, onda mu se može priložiti Foucaultova vizija komentara koji po po definiciji nikad ne može biti dovršen. Komentar je, prema Foucaultu, u potpunosti okrenut prema „enigmatskom, promrmjanom dijelu koji se skriva u komentiranom jeziku: ispod postojećeg diskursa on rađa drugi diskurs.“

 

Neobičnost ovakve umjetnosti ne počiva samo na bijegu pred zatvorenim institucijama umjetnosti, već u svjesnosti da je vrijeme za promjene došlo. Poetika performansa „Ne boj se“ predstavlja skup znakova koji nisu zadati bilo kakvim rječnikom, autoritetom ili enciklopedijom. Znaci u

Hadžifejzovićevoj umjetnosti ne teže svođenju i objedinjavanju. Naprotiv, ovakvi znakovi poprimaju obilježje raspršenosti, a djela od njih napravljena obilježje otvorenosti. Znak je postao ambivalentan, pa tim svojstvom postaje tvornica značenja. Rasteri jezika i značenja su posvuda. Naizgled jasni i jednostavni rasteri značenja se naprosto gibaju, pomjeraju, savijaju. Bacaju pasivnog posmatrača u akciju. Traže da djelujemo i da se pitamo. Traže da se, paradoksalno naslovu performansa, uplašimo za sudbinu nekog naprednijeg djelovanja u gradu koji ne razumije jezik kojim je svijet govorio mnogo, mnogo godina unazad.

 

america-l Joseph Beuys, I Love America & America Loves Me, 1975

After last week’s performance of Joseph Hadžifejzović in Zvono, I was curious to know how the media presented the artist’s work to the public. After a humble article which was epidemic-like preempted by many Bosnian portal, I somehow wandered into the sector for mahalanje of this artist that somehow managed to communicate with people around the world and can not find a common language with his fellow citizens. While Hadžifejzović is trying to carve out that another area in the cityto becomes a generator of turbofolk energy, the mass of dissenters sends him to Jagomir without any skepticism and pity. I would not like to play the Defenders of performative art or artists mentioned because sometimes I have some dubious about the message that are offered, but I would like to remind the judge that thay rethink if perhaps in the act of doubt has some charm, before making a final decision.

 

Performance “Do not be afraid” is homage to Lucia Pianto, Rene Block and Joseph Beuys. Lucia Pianto is the leader of the idea of founding Charlama and Hadžifejzović’s performance is a parallel to Beuys’s performance in the gallery Rene Bloch. Specifically, Beuys did not want to see America, and was dressed up during a three-night stay in a gallery which he shared with the coyote, the original guardian of America caught by a shot of Evropian man. Analogously, Hadžifejzović used bosnian carpet and a small dog in chains probably to not see a misery under the veil of tradition that some smarter people woul used better. Or maybe to hint to us that this is a local misunderstanding from the beginning of my essay? Also, Hadžifejzović used fez in a new light, and then replaces the fez with balaclava and thus begins his game with, as the artist himself says, ‘neglect towards art in Bosnia and Herzegovina. ” Thereafter Hadžifejzović – allegory or culture in our country with his head wrapped kilims like the old beggar and collects coins. When Hadžifejzović went among the audience one observer exclaimed with a laugh: “Papa!” Maybe he is a begging pope. I do not know. In every observer was born a different meaning akin to his experience which is never transparent as a window or as faithful as a mirror. On the contrary! Performance necessarily operates on the principle palimsesta, parchment from which was defaced a label so that other could outlined, but so that still, in signs, we can read below the old. In this sense, one process always contains traces of other, always evokes meaning in never-ending process. Performatives in Hadžifejzović’s works consolidating create meaning. They refer to one another, and the signs still point to other signs.

The principle character similarity is not stable because it always pulls itself into a new similarity and the new label, and therefore we conclude that the meaning of the artist’s works doomed to incompleteness, to the mosaic recreation in each observer individually. This work actually rests on breaking visual barrier where the object goes beyond the domain of language, knowledge, science, and information and data as the content of art. This type of art is often an enigma for a viewer. Using the simplest of ideas, Hadžifejzović is triggering a chain of far more extensive questioning. And so the artist does not allow us to rely on pure visual experience, which leads to a somewhat intellectual provocation. Intellectual provocation is simply the result of betrayed expectations horizon: an observer enters into the gallery and expects images and objects, and in return something completely different is offered. Observers have filled shocks or unfulfilled expectations, accepts, rejects, organizes and reorganizes the data, decides, forgottes. It’s a constant process of re-creation. The artist’s process of re-creating of meaning wins against conventionly established notion of art as a window into the frozen world. Who really is an artist? Whether its presence is essential in the process of making work? Does the artist must be a painter or a sculptor? Does the artist becomes a copy-machine? Does the artist becomes a filmmaker? Does the artist becomes a commentator? Does art becomes a comment? If so, then he may attach comments that in a Foucault’s vision of definition can never be completed. Comment is, according to Foucault, fully facing the “enigmatic part that hides the commentary language: under the current discourse it generates other discourse.”

Strangeness of this art lies not only in escape from a closed institutions of art, but in the awareness that the time for changes has come. Poetics of performance “Do not be affraid“ is a set of characters that are not specifyd by any terms, authority or encyclopedia. Signs in Hadžifejzović’s art does not tend to reduction and unification. On the contrary, these characters take on a characteristic dispersion, and the works made of them a characteristic openness. The sign has become ambivalent, and this property becomes a factory of meaning. Grids of language and meaning are everywhere. Apparently clear and simple grids meaning simply move and bend. They are throwing a passive observer in action. They are seeking to act and to ask ourselves. They require that, paradoxically the headline performances, we start to get afraid of the fate of some advanced work in a city that does not understand the language that the world was talking many, many years ago.

Elma Hodžić

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